Exclusives Archives - Page 8 of 47

Zach Bryan: Modern Americana icon

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

Zach Bryan is just 28 years old, but he has a story to tell. Bryan joined the US Navy at 17, finishing his service in 2021. By that time, he had performed at the Grand Ole Opry and released his first album—a tribute to his late mother—DeAnn. Recorded in two months in a Florida Airbnb, it was this set of recordings that would start a career seemingly set out in the stars. Roots Born and raised in Oologah, Oklahoma, Zach Bryan’s upbringing was steeped in the traditions of the heartland. Oologah, a small town with a population of just over a thousand, is known for its close-knit community and rural charm. It is a place where life moves at a slower, more deliberate pace and the values of family and community are paramount. Bryan’s upbringing in such an environment played a significant role in shaping his narrative-driven songwriting. His family’s deep appreciation for storytelling and music was a cornerstone of his childhood. Bryan was surrounded by music from an early age. His father and grandfather were particularly influential, introducing him to a wide array of musical genres, from classic country and folk to rock and blues. These early influences can be heard in the eclectic soundscapes that characterise Bryan’s music today. The family gatherings often revolved around music, fostering a deep appreciation for the art of storytelling through song. This environment instilled in Bryan a profound love for the craft of songwriting. The Spark of Songwriting Despite this early connection to music, it wasn’t until his teenage years that Bryan began to seriously pursue songwriting. Armed with a guitar and a notebook, he started crafting songs that reflected his experiences and emotions. His songs were raw and unpolished, but they carried a sincerity that was hard to ignore. This authenticity would become a defining feature of his music in the years to come. After high school, Bryan made the decision to enlist in the U.S. Navy at the age of 17. This choice was driven by a desire to serve his country and honour a family tradition of military service, one that had seen his own birth in Japan, where his family were based at the time. The Navy provided structure and stability, but it also meant that Bryan had to balance his duties with his burgeoning passion for music. It was during his time in the Navy that he began to seriously consider a future in music. While stationed in various locations, Bryan found solace in songwriting. The transient nature of military life, with its constant relocations and deployments, provided ample material for his songs. He began recording his music in makeshift settings, often using a simple iPhone to capture the essence of his sound. This DIY approach underscored the authenticity that would come to define his music. Despite the less-than-ideal recording conditions, Bryan’s songs resonated with a raw, unfiltered quality that set them apart from the polished productions of mainstream music. Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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The War and Treaty: Music for resilience and hope

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

Anyone who is fortunate enough to get the opportunity to see The War and Treaty should take them up on their offer. The husband and wife duo, Michael Trotter Jr. and Tanya Trotter, put on a show quite unlike anything else in country music. It’s not just their love-in, fun banter and crowd work, but the pair’s vocals that are truly breathtaking. Watching from the right hand side at Highways festival, there is a beautiful serenity to the room when they open their mouths to sing, the crowd might have been raucous up until this point, but every audience member leans forward and listens attentively as the Trotters take us on their journey. That journey is one that spans sympathy, good times and bad, honesty, love and the cornucopia of human emotion. With The War and Treaty as guide, the path feels safe and illuminated by the glow of their transcendent story telling. If you think that’s an over-exaggeration, then you haven’t seen them perform. The strength within The War and Treaty can be hard to pin down. Their musical style spans country, gospel, folk and soul – a whole lot of soul. The pair is underpinned by their resilience and strength. Michael is a veteran of the Iraq War who actually learned how to play piano while encamped in one of Saddam Hussein’s palaces. It’s a priority for The War and Treaty to keep contributing to the long history of musicians supporting the military. Michael wrote his first song in honour of the man who encouraged him to play around on the piano in Saddam Hussein’s basement; Captain Robert Scheetz. Scheetz was killed whilst out on a mission in Iraq and Michael played the song he wrote for him at his memorial service. This strength, the strength of a soldier who has experienced and witnessed unimaginable things, is what characterises Michael. Tanya has a strength of her own, one that builds Michael up too. When they met, Michael was already a veteran. After returning from Iraq, Michael was diagnosed with post-traumatic stress disorder (PTSD) – a struggle that he still navigates with the support of Tanya – and suffered from homelessness. A trial that faces many veterans. Now, Michael and Tanya work to support veterans, doing USO tours and speaking with the people who Michael considers family. The War and Treaty are not just performers; they are also dedicated to making a positive impact beyond the stage. Their charity work and community involvement demonstrate their commitment to using their platform for good. They have been involved in various charitable activities, from their support of veterans and their families to promoting mental health awareness. “We’ve got to do a better job understanding that mental health isn’t a fad,” Michael has said, “My message to our country is to do better for them.” Often cited is their ‘soul food music’, or music for the soul. It’s frequently the case; after trauma people turn to creativity to relieve their mental burden. As Michael and Tanya step onto larger and more grandiose stages, they bring this special ability to unite people through kindness, pouring their souls into each healing performance. Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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Event review: Black Deer Festival 2024

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

The Black Deer Festival 2024 delivered an intimate and family-friendly experience, despite a few unexpected challenges. Known for its relaxed atmosphere, the festival maintained its charm with a blend of music, crafts, and food, but the unpredictable weather added an element of surprise. Small but mighty The festival’s small size contributed to its cozy, communal feel, which many attendees appreciated. However, the windy conditions posed significant challenges – of course, that’s no fault of the organisers. One of the notable incidents involved a hat stand being blown over. Another mishap occurred during a grilling demonstration by a master griller, where the grill was toppled by the wind, resulting in steaks being dropped into the charcoal and almost setting the stage on fire. These incidents, though chaotic, added a layer of excitement and unpredictability to the event. Drama is oftentimes a fun aside to the main event, something that people can’t control but create the kind of memories that last – who would forget a near stage fire?! Unlike larger festivals where crowds can feel overwhelming, Black Deer’s compact layout encouraged interaction and camaraderie among attendees. This intimate setting allowed festival-goers to forge connections not only with fellow music enthusiasts but also with the artisans and vendors showcasing their wares. The accessibility of performers and the opportunity for spontaneous encounters added a personal touch, enhancing the overall experience beyond mere entertainment. Throughout the festival grounds, the sense of community was palpable. From impromptu jam sessions in secluded corners to shared moments of awe during standout performances, each interaction contributed to a collective tapestry of memories. Families with children, seasoned festival veterans, and first-time visitors alike found themselves drawn into the festival’s warm embrace, where every smile exchanged and story shared became threads in the fabric of Black Deer’s legacy. Craft and lifestyle offerings The lifestyle tents, although limited in number, were a highlight. Attendees were treated to an array of unique items, from guitars made out of cigar boxes to beautiful hats and stunning jewellery. The quality of the crafts on display was impressive, with vendors being kind and open to conversation. The crafts added to the feeling of community, supporting small and medium business and gives even more kudos the family festival experience. Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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Beyond Nashville: CMAT

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

Ciara Mary-Alice Thompson, better known as CMAT, is causing a stir in the UK. It’s near impossible to get tickets to her live performances before they’re sold out, news stories about her confident style choices and outspoken nature abound and she was nominated (alongside the likes of Taylor Swift, Miley Cyrus and Olivia Rodrigo) for International Artist of the Year at the 2024 Brit Awards. But she’s not a pop artist, she’s a country star. CMAT’s second album, ‘Crazymad, For Me’ was released in 2023. It went number one in her native Ireland and broke the top 25 in the UK charts. Before she broke through on her own, she was in a band; “The reason that band dissolved was because I was writing lyrics and making songs that were specific to me and my experiences, and were honest,” she said in 2022. “The feedback that I was getting was, like, ‘We can’t release joke music. Like, this isn’t a comedy act.’ And I was, like, ‘I’m not doing comedy music. I’m writing the way I talk to people.’ The way I communicate is exactly the way in speech and amongst friends as it is in music.” It’s an evident truth, CMAT’s writing sways between sarcastic, astute observation and, above all, honest. It was in 2018 that CMAT went to London for a songwriting workshop by pop superstar Charli XCX. It changed everything for her. She moved from Manchester back to her native Dublin and soon she was penning her first album, 2022’s ‘If My Wife New I’d Be Dead’. It was lauded as a huge success, with critics noting that the album provided thought-provoking insights into loneliness, speckled with her trademark humour. The single ‘I Wanna Be A Cowboy, Baby!’ is an indication of CMAT’s inspirations. She’s a country music fan who writes country music, even if she’s far from its original land. ‘If My Wife New I’d Be Dead’ includes traditionally country instrumentation, featuring steel guitar, banjo and strings. It’s not every day that a country musician from Ireland reaches success, but with her patented blend of upbeat pop and country, CMAT is the crossover star that the country has been waiting for. Tracks like ‘Nashville’ seek to question her own place in country music, CMAT writes that she is ‘gonna tell everybody I know that I’m moving to Nashville’, just for the leaving party. It’s a song that takes on the traditional country ballad, the strings swell and an acoustic guitar comes in, ready to tell the story of leaving that emulates John Denver’s ‘Leaving On A Jet Plane’, whilst maintaining her Irishness with the phrase ‘Who would want my ends’ (for those who are unaware, that’s the bits you leave behind’. Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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Blast From The Past: John Carter Cash unearths Johnny Cash’s lost gems

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

In the dense, tranquil woods of Oregon, John Carter Cash, son of the legendary Johnny Cash, reflects on his father’s unreleased recordings. As a seasoned producer, John has navigated the musical legacies of both his parents, earning Grammy acclaim for his work on his mother’s (June Carter Cash, in case you have been living under a rock) albums. Now, he faces a uniquely emotional and professional challenge: producing an album from Johnny Cash’s previously unheard songs. “Producing Dad’s vocals was a straightforward task,” John reveals candidly. “He’s one of the best singers there is, in my opinion—one in ten million. When you’re dealing with that level of talent, you learn not to touch it much. His presentation was usually flawless, and the approach we took was minimalistic. We often asked ourselves, ‘What would Johnny Cash do?’ and kept things simple.” The new album, aptly titled ‘Songwriter’, features Johnny Cash’s original compositions from 1993, capturing a pivotal period in his life. “It was a time when Dad was in recovery, turning his life around,” John reminisces. “’Hello Out There’ knocks me down every time I hear it, especially during the bridge. My daughter Grace stars in the music video, which is in black and white and the very end shows her blue eyes. It’s beautiful and a testament to Dad’s brilliance as a songwriter.” The Art of Connection One of the most striking aspects of Johnny Cash’s music is his ability to take vast, complex subjects and make them deeply personal. Tracks like ‘Drive On’ and ‘Hello Out There’, which address contemporary issues like the Vietnam War and the Voyager spacecraft. “My father had a unique way of empathizing with others,” John explains. “He read stories of Vietnam veterans to understand their pain, both physical and emotional. In ‘Drive On,’ he put himself in the shoes of a truck driver dealing with PTSD. It’s that honesty and care that make his stories so compelling. He genuinely cared and loved deeply, creating an emphatic connection through his music.” For ‘Drive On’ in particular, Johnny Cash drew from a period of intense personal pain. “My father had a broken jaw that he was dealing with in the early 1990s,” John recounts. “The bone in the jaw had been compromised through years of different dental surgeries, and it was accidentally broken during a procedure. He got home and as the numbness wore off, he realised his jaw was broken. It was wired shut and he was in constant pain every minute of his existence. To cope, a friend suggested that he read stories of people whose pain was greater than his own, both physically and emotionally. These stories, particularly those of Vietnam veterans, profoundly impacted him.” Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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AI country music on TikTok: A trend for the future

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

It’s not hyperbole to say that people are afraid of AI – particularly musicians. Most are scared of being out of a job, after all, AI can imitate voices, write lyrics and create full tracks in just one minute. All based on prompts. The ever-growing trend in AI use across the board and in music is one that has found an unusual battleground: the social media app TikTok. TikTok really took off during the COVID-19 pandemic – why wouldn’t it? It was a way of people sharing easily from inside their own homes, a platform that was built off of music, now shaping the future of it. Country musicians flourished in particular (and continue to). It’s nearly impossible to talk to a country musician nowadays who doesn’t use the app, hasn’t posted them and a guitar in their bedroom singing on it, or hasn’t reached success due in no small part to TikTok. As of 2024, however, the threat of being replaced by AI is greater than ever for professional musicians. The rise of AI in music Artificial intelligence in music involves the use of algorithms and machine learning to compose, produce and sometimes even perform music. AI tools can analyse vast amounts of data, identifying patterns and structures that define specific genres. For country music, this means the AI can learn from thousands of songs, picking up on common themes, chord progressions and lyrical content. So, what does that mean? Well, in short, AI can take its database of country music and create what we would expect a country song to sound like. Whether that’s lyrically, instrumentally or even imitating the voice of artists. For example, there is a cover of ‘Barbie Girl’ by Johnny Cash. Not the real Johnny Cash, but the tone, style and intonation of his singing to create a song that he never actually sang (we can’t comment on whether he knew it existed, as ‘Barbie Girl’ was released in 1997 and Cash died in 2003). AI country on TikTok On TikTok, AI-generated country music has found a unique niche. Users on the platform often engage with these tracks in various creative ways: Original songs: AI can create completely original country songs, from lyrics to melodies. These tracks can then be shared by users, who often add their own twist by performing the song or creating videos that fit the mood and theme of the music. Mashups and remixes: AI tools can also be used to mash up existing country songs or remix them, blending elements from different tracks to create something fresh and novel. TikTok users frequently use these AI-generated mashups to create engaging and entertaining content. Customisation: Some advanced AI tools allow users to input specific themes, keywords, or moods and generate custom country songs based on these inputs. This level of customisation has led to a wave of personalised music content on TikTok, with users sharing songs that feel uniquely theirs. Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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Queens of The Castellows

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

The Castellows are heading out on tour. The sisters are supporting Little Big Town and Sugarland on their mammoth ‘Take Me Home’ tour. But before 2023, the three Balkcom siblings hadn’t considered that they could be country musicians – how exactly did these sisters from Georgia become one of the most exciting bands in country music? Georgia girls Eleanor (Ellie), Lily and Powell Balkcom hail from the small town of Dahlonega, Georgia. Dahlonega is famous for being the place where the first gold rush took place in 1829, a circumstance that spawned one of the best-known misquotes in history, from Mark Twain’s ‘The Gilded Age’: “There’s millions in it”. For The Castellows, golden-haired as if to give their fans a hint of their origins, a cattle farm would be the place they grew into the women making their names known in country music. Growing up in a close-knit family with deep southern roots, music was always a part of their lives. Their father, a bluegrass musician, often filled their home with the sounds of banjos and fiddles, while their mother’s love for classic country provided the soundtrack to their upbringing. However, it wasn’t until their late teens that the idea of forming a band took shape. In 2022, a series of local performances started gaining attention. The sisters, who initially played music for fun, began to notice that their harmonies and unique blend of traditional and contemporary country resonated with audiences. A pivotal moment came when they uploaded a cover of a Dixie Chicks song on social media. The video went viral, garnering thousands of views and catching the attention of local radio stations and music producers. Encouraged by the positive feedback, the sisters decided to take a leap of faith. In early 2023, they packed their bags and headed to Nashville, the heart of country music. The journey wasn’t easy; they faced scepticism and the daunting task of breaking into a highly competitive industry. However, their authentic sound and compelling stage presence quickly set them apart. Their big break came when they were invited to perform at the famed Bluebird Café, a Nashville institution known for launching the careers of many country stars. Their performance was a hit, leading to a recording contract with a major label. Their debut single, ‘Southern Nights’, a nostalgic ode to their Georgia roots, climbed the charts rapidly, solidifying their place in the country music scene. They were signed to Warner Music Nashville and Warner Records simultaneously, the rest, as they say, is history. Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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From the Honky Tonk to Hyde Park: How country crossed the Atlantic

Leave a Comment / Exclusives, News / Rebecca Morpeth-Spayne

This July, the lush expanses of Hyde Park in London will transform into a veritable honky tonk haven as American Express presents BST Hyde Park welcomes two of country music’s biggest stars: Shania Twain and Morgan Wallen. It’s a first for the festival, whose previous headliners have leaned more towards rock and pop, with previous years giving us legends like Guns N’ Roses, Adele and The Rolling Stones. The two country music powerhouses headlining means only one thing: Country is taking over the UK. Slow starters Country music has historically been slow to gain traction in the UK. Unlike in the US, where country is a dominant genre, the British music scene has been more resistant. This resistance can be chalked down to cultural heritage: country music is an inherently American genre, particularly focusing in on the working-class people of the US South. In the US, country music has always been a reflection of its rural, Southern heritage, with themes that resonate with a lifestyle that is less familiar to the average Brit. The UK’s musical landscape has been more dominated by rock, pop and electronic music, with country music often being relegated to a niche status. However, recent years have seen a significant shift. Darcey Jackson, AEG Festival Bookings Manager, credits events like C2C (Country to Country) for opening up the market by bringing major artists to the UK. “As soon as something becomes tangible and accessible, then it has the power to really make an impression,” she says. This sentiment is echoed by the surge in popularity of country fashion — cowboy boots, double denim and cowboy hats, with the latter seeing a 326% increase in sales in the UK year on year —thanks in no small part to mainstream artists like Beyoncé and Post Malone switching up their sounds to join in the hoedown. Jackson’s insights highlight a crucial point: the physical presence of country music in the UK has been a game-changer. The C2C festival, which started in 2013, has been instrumental in this transformation. By featuring top-tier country artists from the US, the festival has introduced British audiences to the authentic sounds of country music. The festival’s success is evident in its rapid growth and the increasing number of attendees each year. What started as a modest event has now become a staple in the UK’s (and Europe’s) music festival calendar. An upwards spiral (or should that be viral?) The rise of social media, particularly TikTok, has also played a crucial role in the genre’s growth. These platforms allow for the viral spread of music, making it easier for UK audiences to discover and fall in love with country music. Jackson notes, “Platforms like TikTok can have an impact on music, no matter the genre”. TikTok, with its algorithm-driven content delivery, has been a boon for country music. Songs can gain massive popularity almost overnight, reaching audiences that traditional marketing methods might never have touched. This digital revolution has democratised music discovery. In the past, access to new music was often mediated by radio DJs and music critics. Now, anyone with a smartphone can stumble upon a catchy country tune and share it with their followers, friends and family. This has led to some surprising hits and the emergence of new stars who might have struggled to find an audience in the pre-digital age. For instance, artists like Lil Nas X, whose ‘Old Town Road’ blended country with hip-hop, owe much of their success to platforms like TikTok and even artists who take a more traditional approach, like the UK’s Remember Monday, are feeling the benefits of virality. “It’s very female heavy, a lot of young girls and young gays. It’s really, really nice that we have that because I think before we’d been present on social media, we didn’t see that kind of audience when we’d come out and play. Now since the TikTok world has come out, we walk out and we’re like, wow, all of these young girls singing our songs. It’s really lovely. That is what our music is aimed at. It’s aimed at people who are young and girly,” they say, ahead of taking to the stage for another UK country music event that is on the rise, Highways Festival. Moreover, the visual aspect of TikTok has helped to amplify the appeal of country music. Users donning cowboy hats and boots, line dancing to country hits and participating in challenges have all contributed to a cultural crossover. This blending of music and fashion has made country music not just a genre, but a lifestyle that resonates with younger audiences. Although country music isn’t all about aesthetic, there’s little more fun than learning a dance with friends and dressing up to play the part – after all, us Brits are fantasists at heart. Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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Instrumental deep dive: Steel guitar

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

What is a steel guitar? Steel guitar is considered a staple of country music. The softer, lilting sound of a steel guitar can be found in country music throughout the 20th century and into the 21st. The steel guitar is usually played on the lap, by plucking the strings with one hand – as opposed to strumming – whilst running a steel bar over the strings with the other hand, hence the name. It’s known to create a smoother sound, with glissando (notes stepping up in half tones quickly) and vibrato (the ‘wobbly’ sound when a note is held), this unique tone makes it instantly recognisable to the ear and incredibly popular. Called the ‘frying pan’ in its early days, for its long neck and circular body shape, steel guitar is played sitting down. The history of steel guitar Believed to have been originally conceived by teenager Joseph Kekuku in his Lāʻie high school dormitory around 1889, the guitar hails – like Kekuku – hails from Hawaii. Hawaiian music dominated the US music charts in the 1910s. Following the fall of the Hawaiian Kingdom orchestrated by US settlers and colonialism, Hawaiians travelled to the US and took their culture, art and instruments with them. The economic hardship in Hawaii led many to leave behind their home islands in pursuit of better jobs and more security, many Hawaiians turned to music to preserve their heritage and language (which was being discouraged in Hawaii after the fall of the Kingdom). The steel guitar was an innovation on the six-string guitar, which itself was brought over to Hawaii by vaqueros (cowboys from Mexico and Spain), these Spanish-speaking cowboys taught locals to play the six-string guitar, all long before Kekuku’s invention came into being. Kekuku himself left Hawaii in 1904, setting up a shop in Seattle where he also taught local musicians about his instrument, the steel guitar. The sound of steel guitar gained popularity and by 1915, Hawaiian guitar music was outselling every other genre of music in the US. Of course, many Hawaiians moved to the Southern US. It was under the rule of segregation that the steel guitar met blues music. As native Hawaiians were banned from staying in whites-only spaces, performers – and other natives who played steel guitar – lived and worked in places where African-American, native and other immigrants also lived. The mixing together of cultures, through shared experience, sowed fertile ground for musical flowers to grow. It was here, in shared spaces that the steel guitar became a mainstay in blues, featured on tracks by Robert Johnson and Muddy Waters. Using the slide method of guitar playing, the steel guitar was quickly a mainstay in American music. Kekuku toured for many years, before settling down in Chicago and continuing to teach steel guitar. Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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Sierra Ferrell: The roots revival punk

Leave a Comment / Exclusives / Rebecca Morpeth-Spayne

It would be remiss to say that the title of this article is original, in fact, it’s stolen from a comment underneath Sierra Ferrell’s performance on Jimmy Kimmel – her first US television appearance – which reads: “Love the texture the percussion adds, she’s an absolute angel, the punk rock outlaw of country music”. Disagreeing is difficult, especially considering Ferrell’s new album, ‘Trail of Flowers’. In the ever-evolving landscape of folk and Americana music, there are artists whose voices echo through the corridors of time, carrying with them the essence of tradition while forging new paths of creativity. Sierra Ferrell is undeniably one of these voices. With a sound that harks back to the roots of American music while resonating with modern audiences, Ferrell has captivated listeners with her haunting vocals, masterful instrumentation and poetic songwriting. For Ferrell, it’s all about the roots revival. Back to her roots Sierra Ferrell’s journey into the world of music began in the hills of West Virginia, where she was born and raised. After her parents divorced when she was five years old, she lived in a trailer with one of her two siblings and her mother. It was here that Ferrell would forge her connection with the outdoors. Instead of picking up on the bluegrass roots of West Virginia, Ferrell found herself drawn to the typical popular 90s music of the time, listening to cassette tapes of Tracy Chapman and 10,000 Maniacs. Ferrell’s first instrument was the clarinet, quickly followed by joining a choir in high school. It ignited the musical spark in her. From there, she picked up guitar and started to teach herself, playing a set of Shania Twain covers at a local bar and joining a band she would later find out was a Grateful Dead cover band. After joining the band and starting to learn the songs, the other members of the band giggled behind her back before telling her the truth. This would be Ferrell’s fatal flirtation with bluegrass that set her on the ‘Trail of Flowers’. The road less travelled: Ferrell’s artistic evolution As Ferrell’s passion for music grew, so did her desire to explore new horizons and push the boundaries of her artistry. Fuelled by a restless spirit and an insatiable hunger for creativity, she embarked on a journey that would take her across the country, from the bustling streets of New Orleans to the intimate venues of Nashville and beyond. It was on this journey that Ferrell began to carve out her own unique sound, blending elements of folk, blues, country and jazz into a tapestry of sound that defies categorisation. With each new city she visited and each new encounter she had, Ferrell’s music evolved, taking on new dimensions and reaching new heights of expression. On her ‘Trail of Flowers’, Ferrell takes the time to pay tribute to the string band Fox Hunt, naming a song after them. In particular, Ferrell counts John R. Miller – the vocalist of Fox Hunt – as the inspiration behind the track, which serves as a nod to her exploration of the bluegrass scene in her early 20s. Read the full feature in our free digital magazine here: https://bit.ly/3WUe56j Never miss a story… Follow us on: Instagram: @Maverick.mag Twitter: @Maverick_mag Facebook: Maverick Magazine Media Contact Hannah Larvin, Editor, Maverick Magazine Tel: +44 (0) 1622 823 920 Email: editor@maverick-country.com

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